Each offering can stand alone or lock into a single campaign pipeline. Stills and motion share plots; finishing lives in one suite.
Campaign stills, product, and portraiture with controlled light. We tether, we plot, and we deliver files that survive print and crop. Retouch is finishing against a grade, not a rescue of underexposure.
We plan lighting, art direction, and capture so stills hold up in print, OOH, and digital. Tethered review on set keeps stakeholders aligned before wrap.
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Treatments through principal photography. Coverage is shot for the edit and the grade: protected highlights, matched cameras, and sound that is not an afterthought.
Crew, cameras, and locations are scaled to the story. We shoot for the grade: consistent exposure, protected highlights, and usable coverage.
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Show LUTs, shot matching, HDR and SDR masters. Stills can live in the same timeline. The brand palette is a decision, not a filter pack.
Grading is treated as design, not a filter. We match cameras, hold skin, and deliver HDR or SDR masters as the media plan requires.
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Picture, sound, titles, and versioning. A sixty-second master and a fifteen-second cutdown should look like siblings, not cousins who stopped speaking.
Editorial, finishing, and versioning live in one pipeline so a 60s master, 15s cutdowns, and stills from frame pulls stay coherent.
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Product and environment CGI composited with plates. Look-dev starts with references shot on set. If the render announces itself, it is not done.
When a physical set cannot exist, we build it. Lighting and materials are matched to plate photography so CGI does not announce itself.
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Type, diagrams, product callouts, and brand systems built to re-version. We do not deliver a single After Effects file that only the author understands.
We design motion that can be re-versioned. Lower thirds, openers, and product callouts follow a system, not one-off animations.
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Treatments, boards, casting notes, and on-set direction. We protect the idea when the day gets short, which it will.
We sit with strategy early: references, casting, and a shot list that protects the idea when the day gets short.
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Studio and location plots for stills and motion. Repeatable light is the product. Lucky hour is a bonus, not a plan.
Plots, grip, and modifiers are designed per frame. The goal is repeatable light, not a lucky hour.
Brief this serviceSend references and whether you need a still, a film, or both. We will staff the job, not a menu.
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